Podcasts about Herschell Gordon Lewis

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Cultpix Radio WCPX 599 - Episode 82 SummaryThis episode brings massive news as Cultpix celebrates four years with the biggest announcement yet: the launch of the Something Weird Channel, a brand-new sister streaming service featuring the complete Something Weird Video catalogue in partnership with Lisa Petrucci.We explore how this new channel emerged following Something Weird Video's decision to discontinue DVD-R production and download-to-own services in October 2024. The Something Weird Channel features approximately 1,000 titles with its own distinct aesthetic, categories, and exclusive content not available on Cultpix.Despite adding enormous value with a second streaming service, the subscription price is actually being reduced from $6.66 to $5.99 monthly. The release schedule includes 50 new films twice monthly, with unique categories covering compilations, exploitation films, and works by legendary directors like Herschell Gordon Lewis and Doris Wishman.Technical developments take centre stage as we talk about the new Android TV and Amazon Fire TV apps that have already achieved nearly 1,000 downloads without promotion. Upcoming features like curated box sets are discussed alongside the new membership pause functionality.Recent Cultpix content gets attention including the popular French erotica collection from Pulse Store, Hungarian Cult Classics Volume 2 featuring a James Bond parody made without having seen any Bond films, and the unique Bronson Canyon theme month celebrating the iconic filming location.The Cannes Film Festival experience features prominently, covering two positive Variety magazine articles, new distribution deals, and the annual cocktail party with special guest director Dan Wolman. The episode concludes with the trademark "Sorry to See You Go" segment, featuring amusing and bewildering cancellation messages from former subscribers.Episode Highlights:Something Weird Channel launch announcementPrice reduction to $5.99 despite doubling contentNew streaming apps availableCannes Film Festival successRecent themed content collectionsTechnical updates and new feature

Episode 204: Look Who's Coming to Dinner month is coming to a close, but we have time for one last guest with Rob of The Cinemigos podcast. We have prepared for him a feast fit for a Pharaoh in Herschell Gordon Lewis'  Blood Feast from 1963.   Make sure to relax with us next week as we take a spa day with 2017's A Cure for Wellness.Become a supporter of this podcast: https://www.spreaker.com/podcast/a-cut-above-horror-review--6354278/support.

I don't think The Blind Rage Podcast has seen such blood and guts since Herschell Gordon Lewis month… This week, we're taking a look at James Riffel's THE HOUSE ON TOMBSTONE HILL, a hidden gem about a group of five twentysomethings who arrive at a massive estate in the middle of nowhere intending to fix it up. The moment they pass the threshold, they discover they've got their work cut out for them. Not only is the place in an extreme state of disrepair, there's a murderous old woman lurking the corridors. With echoes of THE EVIL DEAD and early Peter Jackson, TOMBSTONE HILL is a fun and ultra bloody good time that is sadly more overlooked than it is appreciated.

It's time for one of those huge episodes. Well, it's a three parter anyways. 1965 was a low rent year for horror movies on the whole but some younger hot shot directors were beginning to changed things. A modern flavour was evident in a few of the picks. But, what do I think was the very greatest horror movie that came out during 1965? Well, here we have the top 10. The worst 10. A slew of also rans. Some awesome mates. Some special guests. Several shots of whisky and a 4+ hour running time split over 3 episodes. This is 1965, A Year In Horror. You can now support A Year in Horror via the Patreon.Theme Music by Max Newton& Lucy Foster.Email the podcast at ayearinhorror@gmail.comDon't bother following the podcast on Facebook. But feel free to...Follow me on Twitter.Follow me on Instagram.Follow me on Letterboxd.Below are the time codes for all the different segments and my guest links. Feel free to let me know where you think I got it wrong or right and of course stay safe out there and I'll see you next month.0.34 - The Worst Horror Films from 19655.20 - Also Rans7.36 - Dr. Terror's House of Horrors (w/ James Chapman)42.46 - Color Me Blood Red (w/ Perran Helyes)

The Blind Rage Podcast is closing out Herschell Gordon Lewis month with 2009's THE UH-OH! SHOW, a horror comedy centered around a game show where you don't just lose…you lose a limb. Contains one of the last on-screen appearances of Brooke McArtur (THE LOST BOYS) before his untimely passing in 2015.

Behold! Montag the Magnificent is going to dazzle the eyes with a trick never before seen! He's going to saw a woman in half…only this woman isn't tucked neatly in a box…and he's going to use an actual running chainsaw. It's week three of Herschell Gordon Lewis month on The Blind Rage Podcast! This time, we're taking a look at the original 1970 splatterfest THE WIZARD OF GORE, the story of a magician/illusionist who butchers women live on stage. But is what the audience sees truly real?

Sam and Shea get gory for another cannibal run, with Herschell Gordon Lewis' glorious splat-classic Blood Feast! Also, recommendations based on the movie, and what we've been watching / reading in the past couple of weeks. Follow Shea on Instagram: www.instagram.com/black_vvideo/ And Sam: www.instagram.com/samashurst23/ Or listen to Sam and Shea having weekly discussions of rare and obscure movies over at VHS Quest: www.patreon.com/VHSquest

Herschell Gordon Lewis month continues on The Blind Rage Podcast! For week two, we're taking a look at 1965's COLOR ME BLOOD RED, the story of Adam Sorg, a struggling artist, who finds it impossible to locate the perfect shade of red. That is, of course, until his girlfriend cuts her finger open and a lightbulb goes off. Adam's paintings gain the attention of a respected art dealer and he is encouraged to create more. Only trouble is…where is he going to find that perfect shade?

YEEEEEEEEE-HAW!!! The Blind Rage Podcast is celebrating the month of October with horror icon Herschell Gordon Lewis! Kicking things off is TWO THOUSAND MANIACS, a film that has been delighting genre devotees with its over-the-top gore and off-brand of delinquent humor the past 60 years! The small Southern town of Pleasant Valley is holding a very special ceremony…err…I mean celebration. There'll be food, music, games, and a bloodbath of epic proportions. The residents of this little town have been waiting 100 years to exact vengeance on those who've wronged them and they'll make sure the opportunity is properly seized.

Welcome back to the Horror. Cult. Trash. Other. Podcast! This week we're bringing Summer Screams month to an end by discussing Herschell Gordon Lewis' redneck slasher, Two Thousand Maniacs! and its surprisingly great remake, 2001 Maniacs, for our latest Original vs. Remake episode! Alongside our main film discussion, we also discuss what we've been watching recently including Blink Twice and Cuckoo. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!

Host Douglas Arthur is joined by author and film historian Chris Poggiali to discuss his latest book, These Fists Break Bricks, in a breezy conversation that touches on many and varied topics from fanzines, origin stories, The University at Buffalo, avant garde cinema, Stan Brackhage, Paul Sharits, Night of the Living Dead, Buster Keaton, Roger Corman, Temple of Schlock, Five Deadly Venoms, The Green Hornet, Grady Hendrix, Bruce Lee, John Saxon, Gene Day, Paul Gulacy, Master of Kung Fu, Richard Dragon, Judo Master, Herschell Gordon Lewis, Russ Meyer, Faster Pussycat, Kill! Kill!...and so much more! Stay for the cannoli, leave for the hot, buttered popcorn stuck to the theater floor!

On this week's episode Brad and Ygraine discuss what is considered the very first splatter film - Herschell Gordon Lewis' Blood Feast from 1963.

Hosts Josh and Jamie and special returning guest Oliver Leach discuss a double feature of gory doctor themed 70s B-horror movies with a double feature of Herschell Gordon Lewis protege J.G. Patterson Jr.'s strange and inept 70s grindhouse BRIDE OF FRANKENSTEIN riff DOCTOR GORE (1973) and Hollywood assistant director Eddie Saeta's campy and theatrical supernatural serial killing magician TV movie DOCTOR DEATH (1973). Next week's episode is a patron-exclusive bonus episode on the dark underbelly of the suburbs in David Lynch's BLUE VELVET (1986) and John Waters' SERIAL MOM (1994), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on Patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-15:20 DOCTOR GORE // 15:20-1:10:15 DOCTOR DEATH // 1:10:15-2:06:36 Outro // 2:06:36-2:10:28 MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller

Herschell Gordon Lewis le hizo al cine de terror un regalo único: el gore, palabra que significa literalmente “sangre derramada” y en clásicos como “Blood Feast” y “2000 Maniáticos” quedaron las bases de una estética en la que sangre, la mutilación y las vísceras se convirtieron en las estrellas. En este episodio de “Sesiones del Macabro”, le hacemos la disección a la vida y al legado cinematográfico del “padrino del gore”. No se arranquen las orejas y escuchen.

In this episode, we travel to the far Northside with comedy writer and podcaster Aaron Lee (Family Guy, The Cleveland Show, Ted) to see the Rockin'-Ringo-Rama double of 200 Motel and The Magic Christian, which opened at the Devon Theater on February 4, 1972. Topics include movie theaters Herschell Gordon Lewis owned, The Monkees' influence on Frank Zappa, The Hilarious House of Frightenstein, Flo & Eddie, Ringo's acting chops, Peter Sellers's talent, Christopher Lee's Dracula cameo, Badfinger's soundtrack, and more Chicago history than you'll know what to do with!

It's time for one of those huge episodes. Well, it's a three parter anyways. 1968 was a ground breaking year for horror movies, well, as far as the big hitter films are concerned anyways. The highs are really high & the lows are few & far between. But, what do I think was the very greatest horror movie that came out during 1968? Well, here we have the top 10. The worst 10. A slew of also rans. Some awesome mates. Some special guests. Several pints of beer and over 3 hours of running time split over 4 episodes. This is 1968, A Year In Horror.0.00 - Sci-Fi Corner3.43 - Barbarella (w/ Kelly McNeely)37.58 - Planet of the Apes (w/ Lee Beamish)57.56 - 2001: A Space Odyssey (w/ Clay Tatum & Whitmer Thomas)

Episode #96 of MY HAUNTED HEAD (originally recorded as Episode #63) has apparently been collecting dust down in the vault for the past year or so.  So we've dusted it off, and now bring you this extensive, (mostly) unedited walk down memory lane as Toddzilla and Matthew discuss all of the incredible film heroes whom we've met at conventions, and who are unfortunately no longer with us.  Included are meetings with Stuart Gordon, David Hess, Gunnar Hansen, Rowdy Roddy Piper, Herschell Gordon Lewis, Ted White, John Saxon and many more.  Lots of great memories, and a few laughs along the way. Listen now on your favorite podcast app.  RATE, SHARE and SUBSCRIBE!

Why not start the new year with a couple of delightful Kids film from the 60’s. First up, The 1961 Taiwanese fantasy film The Fantasy of the deer Warrior and Herschell Gordon Lewis’s Jimmy, The Boy Wonder from 1966. These films and other wonders of wild cinema can be find on https://www.cultpix.com/ Email: motionpicturemassacre@gmail.com Voicemail: 732-639-1435

Watch Best Scene reading from Janna Jones: https://www.youtube.com/watch?v=a5Xwc4PwwaA Cheap, Sexy, and Shocking! is loosely based on the career of Louise Downe who played a significant role in the exploitation cinema movement in the 1960s and early 1970s. Her contributions as an actor, screenwriter, assistant director, and designer are a noteworthy chapter in twentieth century cinema history, but her efforts have been routinely overlooked, as she has been overshadowed by her moviemaking partner, the king of gore, Herschell Gordon Lewis. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Ett herrans liv i luckan Vi ger en personligt färgad överblick av genren splatterfilm: underhållningsformen som din mamma hatar mer än att bifoga kvitto med julklappar. Tomas drar sig till minnes tiden när mamma visste mer om skräckfilm än han själv och Lars uppvisar alla tecken på bokstavskombination när han utan att darra på manschetten rabblar den gyllene koden ABACABB för att ocensurera Mortal Kombat till Sega Mega Drive. Old habits die hard. Vi pratar också om: Creepypodden i P3, splatterinslag på julbordet, Kan du vissla Johanna?, Blood Feast, Psycho, the godfather of gore Herschell Gordon Lewis, den eventuellt dödsfixerade egyptiska kulturen, Ishtar, William Friedkin, Exorcisten, Dawn of the Dead,  John McCarthy, Splatter Movies - Breaking The Last Taboo: A Critical Survey Of The Wildly Demented Sub Genre Of The Horror Film That Is Changing The Face Of Film Realism Forever, slasher-genrens absoluta toppår 1981, George A. Romero, Night of the Living Dead, Return of the Living Dead, Re-animator, Beyond Re-animator, Devil Doll, Sacrilegium, Jeffrey Combs, Richard Band, Day of the Dead, The Evil Dead 2: Dead by Dawn, Army of Darkness, debatten i svensk media kring Braindead, Dead Alive, Peter Jackson, Sagan om ringen, Michael J. Fox, The Frighteners, Fran Walsh, A Serbian Film, Motorsågsmassakern, året som den svenska filmcensuren la ned verksamheten för gott – vilket år det nu var – Hongkong-film, Meet the Feebles, Heavenly Creatures, Cannibal the Musical, Trey Parker, Matt Stone, The Donner Party, Troma, Super Nintendo, Street Fighter II, Planet Terror, Death Proof, Rise of the Triads, Doom, Id Software, Wolfenstein 3D, Tokyo Gore Police, Deathgasm, Postal, Blood och Quake. Bakom Patreon-väggen kan ingen höra dig klafsa runt i inälvor upp till knäna, men du kan höra oss fortsätta samtalet lika länge till med fokus på nyzeeländska Bad Taste, svenska Evil Ed och belgiska Yummy, med bred marginal den mest belgiska film som någonsin gjorts. Besök för all del gärna www.patreon.com/vargtimmenpodcast för mer information. Nostalgi, löst tyckande och akademisk analys.  

The Final Chapter of the 19th Annual A-Z of Horror Festival has finally arrived. Was it worth the wait? Well, let's call it a mix of good and bad. We have disappearing mothers, Kevin Bacon, a town filled with crazy southerners, werewolves, talking pets, a lost movie that should have stayed that way, and preferring the zombie apocalypse to going into work. Let's have ourselves a little chat about:Relic (2020)Stir of Echoes (1999)Two Thousand Maniacs! (1964)The Undying Monster (1942)The Voices (2014)Werewolf By Night (2022)Xenia (1990)You Are Not My Mother (2021)Zom 100: Bucket List of the Dead (2023)

It's time for one of those huge episodes. Well, it's a three parter anyways. 1963 was not the most ground breaking year for horror movies, well, as far as the big hitter films are concerned anyways. The highs are really high & the lows are few & far between. But, what do I think was the very greatest horror movie that came out during 1963? Well, here we have the top 10. The worst 10. A slew of also rans. Some awesome mates. Some special guests. Several pints of beer and over 4 hours of running time split over 3 episodes. This is 1963, A Year In Horror.00.34 - Also Rans 02.51 - Dementia 13 (w/ Michael Hurst)23.25 - The Haunting (w/ Eric Ellicock)1.01.35 - Blood Feast (w/ Larry Schemel)1.26.37 - Paranoiac1.33.22 - Black Sabbath1.39.16 - The Sadist1.45.24 - Maniac1.52.57 - The Birds1.59.52 - Outro 

Halloween is only a few days away so we've got horror romps from a pair of carnival hucksters. First, William Castle--the King of the Gimmicks--is back on OMFYS with his ghostly masterpiece HOUSE ON HAUNTED HILL from 1959. Vincent Price is back in this one as an eccentric millionaire (please tell me there's no other kind) who offers $10 thousand to a handpicked group of desperate people. What can go wrong??? Of course, there are ghosts, skeletons and gorilla hands galore in the ultimate Halloween movie. Then, we go from carny spook house to the utter depravity of the geek show with Herschell Gordon Lewis' BLOOD FEAST (1963), the first gore movie where a mad Egyptian caterer is butchering the young women of the Miami suburbs right in their own front yards. We wouldn't have SAW or FRIDAY THE 13th without this one folks. We also talk about the new Jurassic weed that's hitting the California market, the dude who dropped mushrooms and tried to disable a plane, 70s variety TV specials, the TCM Cruise and what's coming up at the New Beverly in Los Angeles. OMFYS Hosts: Bob Calhoun, Cory Sklar and Greg Franklin. Philena Franklin is on assignment. MUSIC Theme song & Funky Frankenstein: Chaki the Funk Wizard "Happy Haunts" by Aaron Kenny via YouTube Audio Library Movie and trailer audio courtesy of Archive.org Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Blood Feast (1963), Two Thousand Maniacs! (1964), The Gruesome Twosome (1967), The Wizard of Gore (1970)  When Herschell Gordon Lewis made his first nudie cutie film in 1961, nobody would have expected that he'd become one of the most important names in the history of horror.  But with the release of Blood Feast just two years later, Lewis and his producing partner David F. Friedman would invent the gore subgenre and would fundamentally reshape horror as we knew and understood it. And for about a decade after it, Lewis would continue to release gore-obsessed fare to grindhouses and drive-ins across the nation.  When those sorts of theaters started to fade away in the 70s, so did Lewis, who went back to his previous career in advertising. But in the 80s and beyond his fame was resuscitated on home video and in the pages of magazines like Fangoria and Deep Red where he became known as The Godfather of Gore.  With some help from Christopher Wayne Curry, author of A Taste of Blood: The Films of Herschell Gordon Lewis, we dive into four of his films and manage to talk about a whole slew of others.  Movies mentioned in this episode: Bell, Bare and the Beautiful (1963), Blood Diner (1987), Blood Feast (1963), Blood Feast (2016), Blood Feast 2: All U Can Eat (2002), Blood Sucking Freaks (1976), Boin-n-g (1963), Color Me Blood Red (1965), Curse of Frankenstein (1957), The Gore Gore Girls (1972), Gruesome Twosome (1967), I Drink Your Blood (1971), Intolerance (1916), Jigoku (1960), Mardi Gras Massacre (1978), Moonshine Mountain (1964), Multiple Maniacs (1970), Night of the Living Dead (1968), A Nightmare on Elm Street (1984), Pit Stop (1969), Polyester (1981), Scream Baby Scream (1969), Scum of the Earth (1963), A Taste of Blood (1967), Tarantula (1955), The Texas Chain Saw Massacre (1974), Serial Mom (1994), This Stuff'll Kill Ya! (1971), Three on a Meathook (1972), Two Thousand Maniacs (1964), Wizard of Gore (1970), Year of the Yahoo! (1971)

This week on the Bad Taste Video Podcast we were LIVE on our Youtube Channel to discuss "The Wizard of Gore" along with other Herschell Gordon Lewis movies!!Join us LIVE every Tuesday night at 9:00 P.M. EST on our Youtube channel!!https://www.youtube.com/@badtastevideopodcastVisit our website!!!https://www.badtastevideo.com ★ Support this podcast on Patreon ★

Our journey through the films of Herschell Gordon Lewis continues! We're wrapping up the Blood Trilogy (also called the Gore Trilogy) with Color Me Blood Red! We're joined by writer, historian, and left media all-star Kyle Kern to bring the Floridaman insight the HV crypt so desperately needs! Keep up with Kyle's work: www.patreon.com/laborkyle twitter.com/laborkyle www.youtube.com/laborkyle www.twitch.tv/laborkyle Follow us on social media for the best in swamp cinema: twitter.com/HorrorVanguard www.instagram.com/horrorvanguard/ You can support the show for less than the cost of going to Florida at www.patreon.com/horrorvanguard

Thank Ishtar, another movie!This week, Cody and Matt take a stab at the iconic independent movie that's responsible for starting the splatter sub-genre. They talk dim-witted detectives, baffling Babylonian beehives, and lolly-gagging locals. They also dive into cult icon Herschell Gordon Lewis' impact on the genre and his infamous movie marketing techniques. Pull up a chair, grab a fork and spoon, and get ready for the feast. Thanks for listening!Instagram / Twitter: @nighthowlspod

Nothing so appalling in the annals of horror! This week, Peaches and Michael offer up a blood red celebration of the Godfather of Gore – HERSCHELL GORDON LEWIS! In addition to discussing this exploitation legend's many contributions to underground cinema, our hosts delve into his undeniable influence on the splatter films of today. Joining the conversation is cult phenomenon Babette Bombshell, who not only shares stories of her time making movies with Lewis, but also offers insight on his razor-sharp acumen. Then, acclaimed editor of ULTRA VIOLENT magazine Art Ettinger stops by to dig into his lifetime of love for Lewis's gore-soaked cinema, as well as his thoughts on some of this foundational filmmaker's “deep cuts.” From Suzie Cream Puff to She-Devils on Wheels, this episode has it all! Go! 

Cinema_PSYOPS_EP400: HG Lewis: The Godfather of Gore 2010 (Main Feed) Gory, Gory, Hallelujah! Take an outrageous ride through the wild world of exploitation films with this often-hilarious documentary, HERSCHELL GORDON LEWIS, THE GODFATHER OF GORE! Legion Patreon:  https://www.patreon.com/LegionPodcasts/posts Legion Discord: https://discord.gg/HdkpsK3CZv PocketCasts: https://pca.st/DGwk Spotify: https://open.spotify.com/show/0PhshKRtKhh4ESfKhrer6s?si=7M_fLKDsRomBgiowA0WWOA Apple Podcasts: https://podcasts.apple.com/us/podcast/cinema-psyops/id1037574921?mt=2&ls=1 Stitcher: http://www.stitcher.com/podcast/cinema-psyops Android: https://subscribeonandroid.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubGVnaW9ucG9kY2FzdHMuY29tL2NhdGVnb3J5L2NpbmVtYS1wc3lvcHMvZmVlZC8 iHeartRADIO: https://www.iheart.com/podcast/269-cinema-psyops-77894788/ Pandora: https://www.pandora.com/podcast/cinema-psyops/PC:60333 Podchaser: https://www.podchaser.com/podcasts/cinema-psyops-24413 Subscribe By Email: https://subscribebyemail.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Cinema PSYOPS Main page: https://www.legionpodcasts.com/cinema-psyops-podcast/ RSS: https://www.legionpodcasts.com/category/cinema-psyops/feed/ Join the FaceBook group: https://www.facebook.com/groups/1616282625298374/   Instagram: cinema_psyops The post Cinema_PSYOPS_EP400: HG Lewis: The Godfather of Gore 2010 (Main Feed) first appeared on Legion.

Cinema_PSYOPS_EP400: HG Lewis: The Godfather of Gore 2010 (Main Feed) Gory, Gory, Hallelujah! Take an outrageous ride through the wild world of exploitation films with this often-hilarious documentary, HERSCHELL GORDON LEWIS, THE GODFATHER OF GORE! Legion Patreon:  https://www.patreon.com/LegionPodcasts/posts Legion Discord: https://discord.gg/HdkpsK3CZv PocketCasts: https://pca.st/DGwk Spotify: https://open.spotify.com/show/0PhshKRtKhh4ESfKhrer6s?si=7M_fLKDsRomBgiowA0WWOA Apple Podcasts: https://podcasts.apple.com/us/podcast/cinema-psyops/id1037574921?mt=2&ls=1 Stitcher: http://www.stitcher.com/podcast/cinema-psyops Android: https://subscribeonandroid.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubGVnaW9ucG9kY2FzdHMuY29tL2NhdGVnb3J5L2NpbmVtYS1wc3lvcHMvZmVlZC8 iHeartRADIO: https://www.iheart.com/podcast/269-cinema-psyops-77894788/ Pandora: https://www.pandora.com/podcast/cinema-psyops/PC:60333 Podchaser: https://www.podchaser.com/podcasts/cinema-psyops-24413 Subscribe By Email: https://subscribebyemail.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Cinema PSYOPS Main page: https://www.legionpodcasts.com/cinema-psyops-podcast/ RSS: https://www.legionpodcasts.com/category/cinema-psyops/feed/ Join the FaceBook group: https://www.facebook.com/groups/1616282625298374/   Instagram: cinema_psyops The post Cinema_PSYOPS_EP400: HG Lewis: The Godfather of Gore 2010 (Main Feed) first appeared on Legion.

Cinema_PSYOPS_EP400: HG Lewis: The Godfather of Gore 2010 (Main Feed) Gory, Gory, Hallelujah! Take an outrageous ride through the wild world of exploitation films with this often-hilarious documentary, HERSCHELL GORDON LEWIS, THE GODFATHER OF GORE! Legion Patreon:  https://www.patreon.com/LegionPodcasts/posts Legion Discord: https://discord.gg/HdkpsK3CZv PocketCasts: https://pca.st/DGwk Spotify: https://open.spotify.com/show/0PhshKRtKhh4ESfKhrer6s?si=7M_fLKDsRomBgiowA0WWOA Apple Podcasts: https://podcasts.apple.com/us/podcast/cinema-psyops/id1037574921?mt=2&ls=1 Stitcher: http://www.stitcher.com/podcast/cinema-psyops Android: https://subscribeonandroid.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubGVnaW9ucG9kY2FzdHMuY29tL2NhdGVnb3J5L2NpbmVtYS1wc3lvcHMvZmVlZC8 iHeartRADIO: https://www.iheart.com/podcast/269-cinema-psyops-77894788/ Pandora: https://www.pandora.com/podcast/cinema-psyops/PC:60333 Podchaser: https://www.podchaser.com/podcasts/cinema-psyops-24413 Subscribe By Email: https://subscribebyemail.com/www.legionpodcasts.com/category/cinema-psyops/feed/ Cinema PSYOPS Main page: https://www.legionpodcasts.com/cinema-psyops-podcast/ RSS: https://www.legionpodcasts.com/category/cinema-psyops/feed/ Join the FaceBook group: https://www.facebook.com/groups/1616282625298374/   Instagram: cinema_psyops ★ Support this podcast on Patreon ★

We're doing grindhouse double features this month! This week we're in the 60s with Lexi's picks, as we discuss Two Thousand Maniacs! (Herschell Gordon Lewis, 1964) and Color Me Blood Red (Herschell Gordon Lewis, 1965). Hosted by Lexi Covill. Co-Hosted by Justin Morgan and Charles Phillips with Guest Jacob Rolland of I.P.A. Sessions. Mixing and QA by Blessedupleasant Block Warrior with Music by Daniel Birch and Ben Pegley. Follow us on Facebook and Twitter for the latest updates. Available on Apple Podcasts, Google Podcasts, Spotify, and a dozen other popular platforms. Please subscribe, rate and review us. Every little bit helps, and more importantly, thank you for listening!

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Episode 105 is the equivalent of a giant dinner special! Derek and Aaron are joined by Nate Boyd & Tyler McCarty of The Bruce Campbell Podcast and Animorphing Time Podcast and returning guest Heather to discuss 1987's demented horror comedy "Blood Diner" directed by Jackie Kong. They talk about the intentional choices and themes underneath the surface of a schlocky splatterfest. They also get into Jackie Kong's sense of humor, how the movie treats female characters, the through line to Herschell Gordon Lewis, among many other aspects of the flick. Nate & Tyler are the Sons of Sheetar. Aaron and Derek want another daily special. Heather wants you to avoid performing these stunts at home. Nate Boyd's Twitter: @BateNoyd Tyler McCarty's Twitter: @bearnurse The Bruce Campbell Podcast @BruceCPod : https://anchor.fm/brucecpod Animorphing Time Podcast @animorphingtime : https://animorphingtime.com/ Red Bubble: https://www.redbubble.com/people/AnimorphingTime/shop?asc=u We are on PodBean, Apple Podcasts, Podchaser, Goodpods, Amazon Music, Google, Stitcher, Spotify, and CastBox. Please rate, review, subscribe, and share our show. Also, check out our Spotify Music playlist, links on our Twitter and Podbean page. Our socials are on Facebook, Twitter and Hive @WatchIfYouDare

Critic, writer, and film historian Nora MacIntyre joins Aaron to discuss John Waters's 1994 satire 'Serial Mom' starring Kathleen Turner as the titular murderous matriarch. Topics include Waters's exploitation origins and the film's ties to splatter maven Herschell Gordon Lewis, the movie's brilliant send-up of the capitalist patriarchal structures of modernity, and the immediate prescience of the story's exploration of true crime obsession in the wake of the O.J. Simpson trial. Follow Nora MacIntyre on Twitter.Read Nora's work at her website, Notoriously Nora.....Our theme song is "Mirror" by Chris Fish

Our journey through the films of Herschell Gordon Lewis continues! We're wrapping up the Blood Trilogy (also called the Gore Trilogy) with Color Me Blood Red! We're joined by writer, historian, and left media all-star Kyle Kern to bring the Floridaman insight the HV crypt so desperately needs! Keep up with Kyle's work: www.patreon.com/laborkyle twitter.com/laborkyle www.youtube.com/laborkyle www.twitch.tv/laborkyle Follow us on social media for the best in swamp cinema: twitter.com/HorrorVanguard www.instagram.com/horrorvanguard/ You can support the show for less than the cost of going to Florida at www.patreon.com/horrorvanguard

In this episode I am joined by my friend Shayne of the SHAYNE AND I podcast to talk about Herschell Gordon Lewis' TWO THOUSAND MANIACS - a splatter fest for the ages!

In this episode I am joined by my friend Shayne of the Shayne and I Podcast to talk about Herschell Gordon Lewis' classic splatter fest TWO THOUSAND MANIACS! Relive the bloody gory by watching the film on TUBI and hearing our praises of it! Check it out! SHAYNE AND I SHOW : https://www.shayneandishow.com

Boobs, silly gag humor, and the most ridiculous forms of cannibalism are just the tip of this zany masterpiece of 80s Horror-Comedy! Jackie Kong achieved greatness in this packed era of the sub-genre, making what is quite possibly the most ultimate 14-year-old boy movie possible. As a pair of wizened 14-year-old boys, ourselves, we thank her for her contribution. From topless aerobics and fully nude martial arts to Hitler-wrestling, epic projectile vomiting, squirty stump-driving, and, of course, seeing how hamburger condiments would accurately splatter against a farty ass in full moon, this semi-sequel to Herschell Gordon Lewis' Blood Feast is a true hidden gem that we're delighted to make our newest episode of Loathsome Things: the Best Horror Movie Podcast!   And buy a copy of Jackie Kong's new comic book: Spend the Night https://www.jackiekongdirector.com/about-6 Use promo code LOATHSOMETHINGS at checkout to support cool artists doing cool things by paying full price! If you would like to recommend a movie, regale us with stories of the time you saw Dino Lee live in concert, or ask us horror movie-related questions, you can do so by reaching out to us on Twitter: @LoathsomePod Instagram: @LoathsomePod Facebook: @LoathsomePodcast Email: LoathsomeThings@gmail.com The Loathsome Things Official Top 10 Greatest Horror-Comedy Movies of All Time List (of those we've reviewed for an episode of Loathsome Things: A Horror Movie Podcast, and rated as a Horror Movie, not specifically Horror-Comedies) (1) Frank Henenlotter's Basket Case (1982) (2) Jackie Kong's Blood Diner (1987) (3) Frank Henenlotter's Basket Case 2 (1990) (4) Jack Hill's Spider Baby (1967) (5) Mercer and Testin's Dementia: Part II (2018) (6) Steve Miner's House (1985) (7) Gabriel Bartalos' Skinned Deep (2004) (8) (9) (10)

Kelly and Chelsea are talking about 2001 MANIACS (2005), a simply wretched movie. It's a requel of TWO THOUSAND MANIACS! (1964), which was written and directed by Herschell Gordon Lewis, the same clown who did COLOR ME BLOOD RED. Yankee kids on spring break find themselves in a small town in Georgia where the townsfolk are still riled up the Civil War. Also!! If you are interested in a Never Show the Monster discord please let us know! It could be fun, right? If you like good things? As always, you can find us on twitter @NoShowMonster or shoot us an email at noshowmonster@gmail.com. Send us your address and we'll send you free stickers of our show art! Folks, we're also on Insta and TikTok! *** Next week we're talking LITTLE EVIL. Find where to watch it at JustWatch.com, non-spon

Herschell Gordon Lewis's 1967 picture Something Weird, with Saturday Night Pants wheat ale and 1923 kölsch generously provided by our friends at Millstream Brewing in the Amana Colonies. A Faustian bargain is made, a serial killer is tracked in Wisconsin, and there's even a ghost haunting a church. It's Herschell Gordon Lewis, so it's cheap and weird, but the beer is great! Join us. Thanks for listening! Check out our website SUBSCRIBE: to the show on Apple Podcast  or Google Play. You can also find us on Audible, Stitcher, Spotify, and Listen Notes. Follow us on Instagram , Facebook, and Twitter! We'd love to hear from you, so comment on our show wherever you are listening. And always, support your local brewery.

How do you balance rationality and irrationality as a business leader? How do you position your company and product to disrupt the market? Kipp and Kieran go on a deep dive on how playing it safe is actually hurting your business, how to know when to hire a head of marketing vs. a product marketer, using emotions to position your product, and more! Plus, We answer one of YOUR questions. Shoutout to Fanny Kuhn for leaving their review! Do you want to be the next featured listener question? Leave your questions in the reviews and we may feature you next. Links Mentioned: Loom https://www.loom.com/  Sapiens by Yuval Noah Harari https://www.ynharari.com/book/sapiens-2/  The Hard Things About The Hard Things by Ben Horrowitz https://a16z.com/book/the-hard-thing-about-hard-things/  Hooked by Nir Eyal https://www.nirandfar.com/hooked/  Rework by Jason Fried https://www.amazon.com/Rework-Jason-Fried/dp/0307463745  The Platform Revolution https://www.amazon.com/Platform-Revolution-Networked-Markets-Transforming/dp/0393249131  Stratechery https://stratechery.com/  Not Boring Newsletter https://www.notboring.co/  The Hustle Newsletter https://thehustle.co/  Milk Road Newsletter https://www.milkroad.com/  Positioning The Battle for your Mind by Al Ries https://www.amazon.com/Positioning-Battle-Your-Al-Ries/dp/0071373586  Ready Player One by Ernest Cline https://www.amazon.com/Ready-Player-One-Ernest-Cline/dp/0307887448  Principles for The Changing World Order by Ray Dalio https://www.amazon.com/Changing-World-Order-Nations-Succeed/dp/1982160276  Shoe Dog by Phil Knight https://www.amazon.com/Shoe-Dog-Memoir-Creator-NIKE/dp/1471146723/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1654105299&sr=1-1  Direct Mail Copy That Sells by Herschell Gordon Lewis https://www.amazon.com/Direct-Mail-Copy-That-Sells/dp/0132147505/ref=sr_1_3?crid=2544SEVJ4RL7Q&keywords=Direct+Mail+Copy+That+Sells&qid=1654105342&s=books&sprefix=direct+mail+copy+that+sells%2Cstripbooks%2C68&sr=1-3  On Writing Well by William Zinsser https://www.amazon.com/Writing-Well-Classic-Guide-Nonfiction/dp/0060891548/ref=sr_1_1?crid=30RQWSPYFT6FV&keywords=on+writing+well&qid=1654105374&s=books&sprefix=on+writing+well%2Cstripbooks%2C78&sr=1-1  New Rules of Marketing PR by David Meerman Scott https://www.davidmeermanscott.com/books/the-new-rules-of-marketing-and-pr  The Rational Optimist by Matt Ridley https://www.amazon.com/Rational-Optimist-Prosperity-Evolves-P-s/dp/0061452068  Twitter Blue https://help.twitter.com/en/using-twitter/twitter-blue  Thank you for tuning into Marketing Against The Grain! Don't forget to hit subscribe and follow us on Apple Podcasts (so you never miss an episode)! https://podcasts.apple.com/us/podcast/marketing-against-the-grain/id1616700934  If you love this show, please leave us a 5-Star Review https://link.chtbl.com/h9_sjBKH and share your favorite episodes with friends. We really appreciate your support. Links: Kipp Bodnar, https://twitter.com/kippbodnar  Kieran Flanagan, https://twitter.com/searchbrat ‘Marketing Against The Grain' is a HubSpot Original Podcast // Brought to you by The HubSpot Podcast Network // Produced by Darren Clarke.

Comedians Raanan Hershberg & Carmen Lagala join Zac Amico for a screening of Blood Feast (1963). Directed by Herschell Gordon Lewis, the film follows an Egyptian caterer who kills various women in suburban Miami to use their body parts to revive a dormant Egyptian goddess, while an inept police detective tries to track him down.Air Date: 05/20/22Support our sponsors!Head to https://www.RockAuto.com for all your auto-part needs, and let them know you heard about them on Zac Amico's Midnight Spookshow!Visit https://www.MiPod.com and use promo code SPOOK for 10% off your order!Fans over the age of 21, go to https://www.yodelta.com/ and use promo code GAS for 25% off your order!The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five days before it comes out everywhere else - you can subscribe NOW athttp://www.GaSDigitalNetwork.comand use the code ZAC for a 7-Day FREE Trial and save 15% on your subscription to the entire network.Check outhttps://www.PodcastMerch.com/ZAC to get EXCLUSIVE Zac Amico merchandise!FOLLOW THE SHOW!Zac Amico:https://www.instagram.com/zacisnotfunny/https://www.twitter.com/zacisnotfunny/Raanan Hershberg:https://www.instagram.com/raanancomedyhttps://www.twitter.com/Raanancomedy Carmen Lagala:https://www.instagram.com/carmstagrams/https://www.twitter.com/CarmenLagalaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Pat and Adam are taking a detour to Pleasant Valley where it's 1865 24-7 as they watch and review Herschell Gordon Lewis' 1964 hicksploitation flick, Two Thousand Maniacs! It's like redneck corporate field day, only every game ends in cannibalism. Plus...The Good, The Bad, & The Questionable and a rundown of our awards.

It's the very 91st episode of Forsaken Cinema Podcast!! This month's theme is blood and gore as it is “May There Be Blood”!!! And we kick it off with the gorefest from 1970 that is Herschell Gordon Lewis's “The WIzard of Gore”! We've got a quirky (and kind of irritating) magician, the world's dumbest sleuths, some really bad acting, and lots and lots of gore. Ok, maybe not THAT much gore, but there's at least plenty. So needless to say, we mostly enjoyed the hell out of it. Come get it!!!!  ——— Also discussed: “Masters of Horror: Episodes 1 and 2” 2005 “Witchfinder General” 1968 “Communion” 1989 ——— If you dig the show, PLEASE! Subscribe, follow, rate, review, and share!!! ——— www.forsakencinema.com Instagram.com/Forsakencinema Facebook.com/Forsakencinema Twitter.com/Cinemaforsaken Forsakencinemapodcast@gmail.com

Tom and Jenny talk about the remake/soft reboot of Herschell Gordon Lewis’s 1964 splatter classic. It stars Robert Englund and Lin Shaye, and features a lot of fun gore gags and cameos. Find this movie and more at the 13 O’Clock Amazon Storefront! Audio version: Video version: Please support us on Patreon! Don't forget to subscribe … Continue reading Movie Retrospective: 2001 Maniacs (2005)

It's time to introduce Kick Keyser to Herschell Gordon Lewis, the Godfather of Gore! And we're starting at the top with 1963's “Blood Feast”. Find out if he was more sickened by the lingering shots of organs and blood, or by the poor quality of… Well, everything. Spoiler alert, Wagner didn't respond that night.     There was a slight tapping, almost a test of communication. For some reason, that fear held strong, and I continued to lie there, shivering.

"Herschell Gordon Lewis' Bloodmania" co-writer James Saito and collector maker Luther Berry maker of the official HG Lewis action figure join us as we countdown to "Without Your Head Presents Bloody Stumps Feature Film Festival"! "Herschell Gordon Lewis' Bloodmania" screens that weekend! Hosted by "Nasty" Neal Jones Thanks to FANGORIA for supporting Without Your Head subscribe to Fangoria today - https://tinyurl.com/WYHFangoria Subscribe to the Without Your Head newsletter to receive weekly updates on our schedule, guests and more! Watch us live Thursdays on www.withoutyourhead.com/live Get your WYH gear: www.withoutyourhead.com/tees Watch us live every Thursday with an interactive chat www.withoutyourhead.com/live Zoom in live on video with us www.withoutyourhead.com/zoom Please subscribe for more interviews! www.youtube.com/channel/UCOmwH7xVAhD-OOAqFWyTYTA?sub_confirmation=1 Join the Without Your Head community! www.FaceBook.com/Groups/WithoutYourHeadHorror --- Send in a voice message: https://anchor.fm/withoutyourhead/message Support this podcast: https://anchor.fm/withoutyourhead/support

In this episode, we kick into celebrating Halloween and the month of October with a supersized series of episodes. We will be having one episode a week all month, each one covering a horror film. We've got a secret theme that again developed accidentally but Dustin promised not to oversell it this time so play along and see if you can figure out the connection over the month. Today we're diving into the wonderfully crazy world of Jackie Kong's 1987 feature Blood Diner. A loving tribute to the works of the Godfather of Gore himself Herschell Gordon Lewis, the film pays love to classic gore-filled horror while being every bit the kind of comedy that only the 80s could spawn.  But before we gush about the film, Michael takes his own turn breaking the rules to talk about a bit of horror television. Dustin shares a bit about his experience attending Fantasia virtually. Jason hurls the gauntlet down finding himself underwhelmed with The Green Knight. And so much more!  What We've Been Watching: -Michael: Slasher: Flesh & Blood (2021) -Dustin: Ultrasound (2021) -Jason: The Green Knight (2021) Show Notes: -Blood Diner Trailer -Stream Blood Diner on Shudder -Check out Dustin's review for Ultrasound at the Grimoire of Horror -Check out the Grimoire of Horror's 2021 Fantasia coverage -Related Film: Motel Hell -Related Film: Blood Feast -Related Film: Two Thousand Maniacs! -Related Film: The Wizard of Gore -Related Film: Jigoku -Related Film: The Being -Related Film: Night Patrol -Related Film: Psycho Goreman -Related Film: Murder Rock -Related Film: Frankenhooker -Related Doc: In Search of Darkness II -Related Song: Dino Lee – Stud Pony Next Time: TerrorVision (1986)